The font can work by itself or curious effects can be achieved. The 3D aspect becomes real by adding one or two gray bands to our text as the samples show. Some alternatives (A, a, E, Y) are at the end of the Basic Latin set.

Based in the astonishing calligraphic work of Farruk Aziz.

Recreation of one of the pixel fonts from Home Data's "Battlecry" (1991). Only the characters present in the game's tile set have been included.

Character Map Unicode Letter Buginese

WIP

See more:

https://www.fontstruct.com/fontstructions/show/675113/equalize-1

A script designed for the conlang of 'Ȑiþȑa̷în'.

The language of Ȑiþȑa̷înwas created at Farnad by a joint effort of Harlastes and Rakiana specifically for the use of the new ‘nation’ taking form from surviving Hyntellar, Aignar and Oumda peoples, who were later collectively known as the Ȑa̷inðâl (Ȑiþȑa̷în: ‘the agency of the world’). As a language, it was designed principally for morphemic elegance and semantic density while using the aesthetic phonemic preferences of its creators and intended speakers, perhaps inspired by the logico-mathematical concept of ‘elegance’ taught at Cynkyallat (Khalaris), Tain and Icoras. As a result, the range of consonants and vowels is relatively small, while also being highly inflected; making extensive use of suprafixes – where the first vowel-sound of a word is modified to change its grammatical function – and limited use of more standard suffix-inflection. In particular, the semantic density of Ȑiþȑa̷în made it ideal for transcription onto valuable or rare writing media as well as possessing a high level of concision in spoken form. Its most celebrated features were used in philosophy, where widespread suprafixing meant that singular concepts tended to retain their essential form regardless of grammatical function and in debate where complex ideas could be put over remarkably quickly. However, its suprafixional grammar also required excellent diction and enunciation from its speakers, precipitating a rather unique oral culture.

‘Ȑiþȑa̷în’is a compound word from the phrase ȑīþ ȑa̷în, which literally means ‘the speech of agency’ or ‘agency’s speech’ – relating to the important concept of ‘civilisation’ or ‘the agency of a people’ in the culture of Farnad. Ithas five cases, five persons, five tense-aspects, and two numbers in its inflectional system, while gender and, when necessary, mood, are conveyed lexically and through word order.

Chunky, tilted and flat. No nonsense font that looks ugly but gets the job done.

WIP

See more:

https://fontstruct.com/fontstructions/show/1697288/silverhand

https://www.fontstruct.com/fontstructions/show/615451/galaxsea_darkmatter_normal_a

https://www.fontstruct.com/fontstructions/show/1399455/ff8-untalic

https://www.fontstruct.com/fontstructions/show/738825/structures_light_1

https://www.youworkforthem.com/font/T10888/space-oddity

An inclyned font. 

https://www.fontstruct.com/fontstructions/show/1593130/sheriff-1

Renaissance-style Italic font, with straight capitals & old style numerals. The lower case letters are designed within a dot matrix, albeit slanted; with the uppercase letters I have deviated from this, in order to create well-proportioned Roman capitals.

A recreation of the font used in FAI†H (2019-2020 AIRDORF GAMES)

Ko tenei momotuhi i mahia mō Te Reo.

Feel free to clone it and add letters for other languages. Even an upper case.

https://fontstruct.com/fontstructions/show/1311777/bansheebeat

https://www.fontstruct.com/fontstructions/show/1619533/franklin-100

THIS FONT WAS IN A STYLE THAT I ACTUALLY FOUND PRETTY HARD TO ACCOMPLISH. BUT AS SOON AS I DIDN’T CARE ABOUT ADHERING TO MY STRICT CONSISTENCY, I GOT IT DONE QUICK AS.

Xilla Regular Italic, part of the Xilla family.

Other weights are on my profile.

Pixel slab serif typeface in 2 weights with italicised variants. Inspired loosely by Zilla, the Google open source font. This type is half the scale of Xilla Pro.

Further work and links here: willalbinclark.com.

Semiserif semispur minimalism.

*

This design uses a few novel glyph-shapes and techniques to achieve its look. Most notable of these is the serifed a which lets the serif protrude to the right. I avoid this feature in almost all designs, especially pixel fonts, because it adds an unnecessary 1px of spacing - but for this font, the feature can be included without changing anything for the worse. Many other glyphs have this same sort of protruding serif/spur, and the slanted geometry of the serifs/spurs affords them a look that "retreats" from neighboring glyphs, rather than seeming to protrude into them.

Work in progress! Кириллица, конечно, скорее эксплуатирует графику оригинального латинского шрифта, с другой стороны(благодаря Петру), она давно это делает и без меня) Итого мы получили очень динамичный, срывающийся с места(или едва стоящий на ногах в кириллице, ох уж эти пьющие русские), модный, цепляющий шрифт для вывесок(ночного клуба).

See more:

https://www.artlebedev.ru/type/junior/

https://fontstruct.com/fontstructions/show/1544279/digitalis-6-4

First design for 2019. Some lines, line widths, spacing and of course the "serif style"  changed for this, as compared to Lady Dorma's look.

Inspired by raster scanning & horizontal synchronization for image & video display.

RC Dynamite with altered filter sizes. The result looks as if it's sizzling, part of a mirage, made of cardboard, or even made by tire tracks!

A stencil version of RC Dynamite made for laser cutting! Could also be an LCD Segment design with slight modification...